The Beginnings Den Beginnings

E E nglewood Cliffs is nestled in the northeast corner of Bergen County in New Jersey and sits atop the Palisades of Fort Lee directly north of Manhattan, a stones throw across the Hudson from the glitter and gild of New York City. nglewood Cliffs er beliggende i det nordøstlige hjørne af Bergen County i New Jersey og sidder på toppen af Palisades af Fort Lee direkte nord for Manhattan, et stenkast over Hudson fra glitter og forgylde i New York City. It's a diverse area and primarily a comfortable residential community that gave us names like Charles Lindbergh, Vince Lombardi, John Travolta, Eddie Murphy and in the fall of 1957, Emily. Det er et mangfoldigt område, og først og fremmest en behagelig bolig samfund, der gav os navne som Charles Lindbergh, Vince Lombardi, John Travolta, Eddie Murphy og i efteråret 1957, Emily.

E E mily Remler was actually born in Manhattan and could have claimed to be a legitimate New Yorker but she was raised entirely in Englewood and though she spent a good deal of time in The Big Apple especially in her professional life, she always felt like and referred to herself as a New Jersey girl. Milij Remler var faktisk født i Manhattan og kunne have hævdet at være et legitimt New Yorker, men hun var rejst helt i Englewood, og skønt hun brugte en god del tid i The Big Apple især i hendes professionelle liv, hun altid havde lyst til og henvist til sig selv som en New Jersey pige.

Emily was from a hard working household, her father a meat broker and her mother in social services. Emily var fra en hårdtarbejdende husholdning, hendes far en kød mægler og hendes mor i sociale ydelser. She had two older siblings, a brother who became a US diplomat and was an amateur guitar player who owned the infamous Gibson ES 330 that she borrowed to never surrender and a sister who later became a lawyer and language teacher in New York City. Hun havde to ældre søskende, en bror, som blev en amerikansk diplomat og var en amatør guitarist som ejede det berygtede Gibson ES 330, at hun lånt aldrig at overgive sig og en søster, der senere blev en advokat og sproglærer i New York City.

I Jeg t wasn'ta musical family professionally but it was a family that believed in achieving and doing with encouragement to pursue individual ideas and access to music and instruments was always a part of that. t var ikke en musikalsk familie professionelt, men det var en familie, der troede på at opnå og gør med opmuntring til at fortsætte de enkelte idéer og adgang til musik og instrumenter var altid en del af denne. Of interest, her precursor to the guitar was the piano. Af interesse, var hendes forløber for guitaren klaver. Friends remember her playing for hours while her parents were at work, though quite shy about playing if asked and also of spending time drawing which explains her early desires to attend design schools. Venner huske hende spille i timevis, mens hendes forældre var på arbejde, selv helt genert over at spille hvis der bliver bedt og også for at bruge tid tegning, der forklarer hendes tidlige ønsker at deltage design skoler. Certainly there at home is where her imagination first flourished and the foundation was laid: if you apply yourself, if you search out creative ends, you will succeed. Ganske vist derhjemme er, hvor hendes fantasi første blomstrede og fundamentet blev lagt: Hvis du anvender dig selv, hvis du søger ud kreative formål, vil du lykkes. This early philosophy expressed itself throughout her career as she was undeterred by the bias and skepticism of the male dominated music business and doubters of her ability. Denne tidlige filosofi udtrykt sig i hele sin karriere, da hun var ufortrødent med bias og skepsis i mandsdominerede musikbranchen og tvivlerne af hendes evner. She simply let her hard work and natural talent on the guitar do the talking for her. Hun bare lade hende hårdt arbejde og naturlige talent på guitaren gør det taler for hende. As she told interviewer Gene Lees in response to his question about the underlying sexism in the industry: Da hun fortalte intervieweren Gene Lees som svar på hans spørgsmål om de underliggende sexisme i branchen:

I'm not into sitting and crying about it, I'm into doing. Jeg er ikke i mødet og græder over det, jeg er i gang med. I never was bitter about the fact that there are so many band leaders who have told me face to face that they couldn't hire me because I was a woman, or that there have been so many instances where I wasn't trusted musically and they handled me with kid gloves because they figured my time wasn't strong. Jeg var aldrig bitter over, at der er så mange band ledere, som har fortalt mig ansigt til ansigt, at de ikke kunne ansætte mig, fordi jeg var kvinde, eller at der har været så mange tilfælde, hvor jeg ikke var tillid til musikalsk og de håndteres mig med fløjlshandsker, fordi de regnede med min tid var ikke stærk. You have to believe in yourself. Du skal tro på dig selv. It never did occur to me to stay in one place and bitch about this, about how I wasn't given a chance. Det aldrig skete for mig at bo på et sted og tæve om dette, om hvordan jeg ikke har fået en chance. I think it gives me more merit – to get really good, so good that it doesn't matter: to get so good that you surpass it. Jeg tror, det giver mig mere fortjent til - at blive rigtig god, så god, at det ikke betyder noget: at få så godt, at du overgår det.

From The Jazz Scene: An Informal History from New Orleans to 1990 From The Jazz Scene: En uformel historie fra New Orleans til 1990
by W. Royal Stokes comes this excerpt: ved W. Royal Stokes kommer dette uddrag:

Becoming something of a household name among jazz fans here and abroad by mid-decade, Emily nevertheless had to cope with the lingering prejudice against the female instrumentalist in the art form. At blive noget af en husstand navn blandt jazz fans her og i udlandet i midten af årtiet, Emily alligevel skulle klare den dvælende fordomme mod det kvindelige instrumentalist i kunstform. She expressed her feelings on the double standard she had to contend with everyday. Hun gav udtryk for hendes følelser på den dobbelte standard, hun blev konfronteret med hver dag. Conceding that working conditions for women in jazz had improved over the course of the 1980's, Emily lamented, “But there's still a lot of things that bother me. Det antages, at arbejdsforholdene for kvinder i jazz havde forbedret i løbet af 1980's, Emily beklaget, "Men der er stadig en masse ting, der plager mig. Like people worrying about your looks when all you want to think about is the music.” Ligesom folk bekymre sig om dit udseende, når du kun vil tænke på er musikken. "
Emily was especially annoyed at a prominent critic who had objected (in print) to her habit of intermittently holding the guitar pick in her mouth whenever she switched to bare-finger playing. Emily var især irriteret på en prominent kritiker, der havde gjort indsigelse (i print) til hende vane med mellemrum at holde guitaren pick i munden, når hun skiftede til bare-finger spil. The critic confessed that he preferred to look away whenever she was doing this, to which Emily testily replied: Kritikeren tilstod, at han foretrak at se bort når hun gjorde det, som Emily testily svarede:

Good ! Godt! I wish he'd look away the whole time and picture me as John Coltrane ! Jeg ønsker han ville se væk hele tiden og billede mig som John Coltrane!

It's clear that preconceptions and prejudice existed for female players, especially those on non traditional instruments or roles in the music community. Det er klart, at forudfattede meninger og fordomme eksisterede for kvindelige spillere, især dem på utraditionelle instrumenter eller roller i musikken samfund. I think we can all agree that Emily met them head on and handled these moments with grace, humor and a determination that never let such obstacles take anything away from what mattered most, the music. Jeg tror, vi alle kan blive enige, at Emily mødt dem hovedet på og behandlet disse øjeblikke med ynde, humor og en konstatering af, at aldrig lade sådanne hindringer tage noget væk fra det gjaldt de fleste, musikken.

Robert Jospe, friend and performer with Emily offers the following about her confidence and how she carried herself in a man's world… Robert Jospe, ven og performer med Emily tilbyder følgende om hendes tillid, og hvordan hun bar sig i en mandeverden ...

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Lydklip: Adobe Flash Player (version 9 eller derover) er forpligtet til at spille dette lydklip. Download the latest version Download den nyeste version here her . . You also need to have JavaScript enabled in your browser. Du skal også have JavaScript aktiveret i din browser.

She wasn't born a virtuoso. Hun var ikke født en virtuos.

I Jeg t's hard to believe that at age 16 Emily was graduating high school without the ability to read music and knew nothing of jazz. t er svært at tro, at i en alder af 16 Emily blev dimitteret high school uden evnen til at læse musik og vidste intet om jazz. Harder still to believe that by the time she would turn 23 she would be recording her first album, Firefly and beginning to draw a buzz from the jazz community as a talent to behold. Harder stadig at tro, at med den tid, hun ville vende 23 hun ville være at optage sit første album, Firefly og begynder at tegne en brummer fra jazz samfund som talent at se.

In July 1974, the summer between high school and college, we spent a week or two at the Chautauqua Institution in upstate New York. I juli 1974 sommeren mellem high school og college, den brugte vi en uge eller to på Chautauqua Institution i upstate New York. I took art classes and Emily took music classes, specifically learning about Indian music by playing it on her guitar and authentic Indian instruments. Jeg tog kunst klasser og Emily tog musik klasser, specielt lære om indisk musik ved at spille det på sin guitar og autentiske indiske instrumenter. This was a turning point for Emily or at least part of her musical evolution. Det var et vendepunkt for Emily eller i det mindste en del af hendes musikalske evolution. While in the evenings in our room she taught me to play “Stairway to Heaven” and “Bell Bottom Blues” (she could play Page and Clapton, not me!), she had moved on musically. Mens der i om aftenen i vores værelse, hun lærte mig at spille "Stairway to Heaven" og "Bell Bottom Blues" (hun kunne spille Page og Clapton, ikke mig!), Hun havde flyttet på musikalsk.
Each afternoon after her Indian music lesson, she couldn't wait to play me what she learned and there was pure delight in her face as she played these new sound combination's, half tones and quarter tones, different rhythms and time signatures. Hver eftermiddag efter hendes indisk musik lektion, kunne hun ikke vente med at spille mig, hvad hun lærte, og der var ren glæde i hendes ansigt, da hun spillede disse nye lyd kombinations, halv toner og kvarttoner, forskellige rytmer og taktarter.

Although she might not have played jazz before she began attending Berklee two months later, it's easy to see how she “absorbed” jazz just like she did Indian music during her brief summer experience. Selv om hun ikke kunne have spillet jazz før hun begyndte at deltage Berklee to måneder senere, er det nemt at se, hvordan hun "absorberet" jazz ligesom hun gjorde indisk musik under hendes korte sommer oplevelse. She had incredible enthusiasm about all that music could be, every complex chord and rhythm and a determination to make those sounds come out of her and her guitar. Hun havde utrolig entusiasme omkring al den musik kunne være, hver eneste indviklede akkord og rytme og en vilje til at gøre disse lyde kommer ud af hende og hendes guitar.

In hindsight, it's obvious that Emily learning these “weird time signatures”, memorizing Ravi Shankar records and being exposed to such a diverse and rich palette of non-traditional music helped spark her interests and later mastery of polyrhythms and Brazilian jazz styles where she excelled in her playing. I bakspejlet er det indlysende, at Emily læring disse "underlige taktarter", huske Ravi Shankar optegnelser og bliver udsat for en så forskelligartet og bred palet af ikke-traditionelle musik hjalp gnist hendes interesser og senere beherskelse af polyrhythms og brasilianske jazz stilarter, hvor hun udmærket i hendes spil.

A A fter graduating high school with low marks, admittedly from too little focus toward studies, she initially had trouble finding a college that had a serious interest in recruiting her. fter eksamen high school med lav mærker, ganske vist alt for lidt fokus mod undersøgelser, hun oprindeligt havde problemer med at finde et kollegium, der havde en seriøs interesse i at rekruttere hende. She considered going to the Rhode Island School of Design with enthusiasm in graphic design Hun mente at gå til Rhode Island School of Design med begejstring i grafisk design

I did sculpting and drawings and had a choice to make between Rhodes and Berklee but I was so frustrated with art. Jeg gjorde sculpting og tegninger og havde et valg at foretage mellem Rhodos og Berklee, men jeg var så frustreret over art. I couldn't get it the way that I wanted it. Jeg kunne ikke få det på den måde, at jeg ønskede det. Music, at least you get more chances and a little more time and the companionship of other musicians. Musik, i det mindste får du flere chancer og lidt mere tid og kammeratskab med andre musikere.

She opted for Berklee College of Music because music seemed more forgiving and simply because they had accepted her. Hun valgte Berklee College of Music, fordi musik syntes mere tilgivende og blot fordi de havde accepteret hende. She later mused, “it was easy to get in to but staying in was hard”. Hun senere mused, "det var let at komme ind på, men opholder sig i, var hård". This was quite a casual and carefree attitude from someone that went on to pour incredible amounts of hard work into practicing and playing but it was her experience at Berklee that would have the greatest impact on who she became as an artist. Dette var en afslappet og ubekymret attitude fra en person, som gik på at hælde utrolige mængder af hårdt arbejde i at praktisere og spille, men det var hendes erfaring på Berklee, der ville have den største indflydelse på, hvem hun blev som en kunstner. It was indeed the first place she ever heard jazz. Det var faktisk det første sted hun nogensinde har hørt jazz.

At that point her life became clear to her; På dette punkt hendes liv blev det klart for hende; I knew I would be a guitarist. Jeg vidste, jeg ville være en guitarist.
Jazz sounded “ so serious and introverted “ , she immediately knew where to focus her energy and the directions she wanted to explore. Jazz lød "så alvorlig og indadvendt", hun straks vidste, hvor at fokusere sin energi og de retninger, hun ønskede at undersøge. It was her moment of epiphany . Det var hendes øjeblik epiphany. She had finally found her purpose. Hun havde endelig fundet hende formål.

Still, there was a lot of work and frustration. Alligevel var der en masse arbejde og frustration.

F F or the first six months at college, Emily found she was unprepared for the focused intensity of performing and was too shy to play in front of her teacher for months but even this awkward lack of confidence would not prevent her from excelling at learning to read and play entirely new forms of music and it is also where she fortuitously came in contact with Brazilian influences, specifically bossa nova rhythms from another advanced and multi-talented student eller de første seks måneder på college, Emily fandt hun var uforberedt på den fokuserede intensitet, der udfører og var for genert til at spille foran hendes lærer i flere måneder, men selv denne akavede manglende tillid ikke ville forhindre hende i at udmærker ved at lære at læse og spiller helt nye former for musik og det er også, hvor hun tilfældigt kom i kontakt med brasilianske påvirkninger, specielt bossa nova rytmer fra en anden avanceret og multi-talentfulde studerende Celia Vaz Celia Vaz , that became one of the strongest forms of music attraction for her career ahead. , Der blev et af de stærkeste former for musik attraktion for hendes karriere fremover. While their lessons together were nothing more than sitting in the corridors of classrooms trading techniques and ideas, she credits Mens deres erfaringer sammen var noget mere end at sidde i korridorerne på klasselokaler handel teknikker og idéer, hun kreditter Celia Celia as a major influence on how she learned and approached the Bossa style. som en stor indflydelse på, hvordan hun har lært og nærmede sig Bossa stil.

Emily was a mere 18 when she graduated Berklee, with a new direction to follow, a head full of ideas and a growing annoyance of what she considered to be her playing limitations. Emily var blot 18, da hun dimitterede Berklee, med en ny retning at følge, et hoved fuld af idéer og en voksende irritation af, hvad hun anså for hende at spille begrænsninger.
She was most unhappy with her rhythm and timing and set about to eliminate this deficiency with intense day long, closed door sessions between herself and her metronome in a rented room on the shores of Long Beach Island in NJ. Hun var mest utilfreds med hendes rytme og timing og gik i gang for at fjerne denne mangel med intense dage lange, lukkede døren møder mellem hende og hendes metronom i et lejet værelse på bredden af Long Beach Island i NJ. This self imposed wood shedding was how she spent her first summer after school before moving down to the Big Easy of New Orleans to rejoin her boyfriend and fellow Berklee musician, Steve Masakowski. Denne selvstændige pålagt træ udgydelse var, hvordan hun tilbragte sin første sommer efter skole, inden du flytter ned til Big Easy New Orleans for at slutte sin kæreste og kollega Berklee musiker, Steve Masakowski. She often referred to this extremely focused summer as her most relevant in development and tried for the next five consecutive summers to replicate that intensity without success. Hun omtales ofte denne ekstremt fokuseret sommer som hendes mest relevante i udvikling og prøvede for de næste fem på hinanden følgende somre at kopiere denne intensitet uden held. It turned out to be a once in a lifetime experience that could not be reproduced on demand but was none-the-less a pivotal point in her musical evolution. Det viste sig at være en gang i livet oplevelse, der ikke kunne gengives på efterspørgsel, men var ingen-the-less en omdrejningspunkt i hendes musikalske udvikling.

Once in New Orleans she dove head first into the professional life of a working musician, playing small venues like Tyler Club, hotels (she was the guitarist in the house band for the Fairmont-Roosevelt Hotel with leader Dick Stabile in the famed Når i New Orleans hun duen hovedet først ind i den professionelle liv i en arbejdsgruppe musiker, spiller små spillesteder som Tyler Club, hoteller (hun var guitarist i huset band for Fairmont-Roosevelt Hotel med leder Dick Stabile i den berømte Blue Room Blue Room , ,

countless music halls, dinner lounges, weddings and other private receptions, while also teaching individual students and continuing her own leisurely studies by jamming with renowned New Orleans instructor and performer, utallige koncertsale, middag lounges, bryllupper og andre private receptioner, samtidig med undervisning den enkelte studerende og fortsatte sin egen ro og mag undersøgelser fra jamming med kendte New Orleans instruktør og performer, Hank Mackie Hank Mackie . . It was an incredible period of personal growth for her musically. Det var en utrolig periode med personlig vækst for hende musikalsk. Emily and Steve had a small quartet called FourPlay that kept busy with gigs and she also is mentioned to have played many times with the R&B group Emily og Steve havde en lille kvartet kaldet FourPlay at travlt med koncerter, og hun er også nævnt at have spillet mange gange med R & B-gruppen

Little Queenie and The Percolators . Little Queenie og The Percolators.

Others that were woven into her New Orleans experience were Wynton Marsalis, Joel Grey, Ben Vereen, Robert Goulet and Nancy Wilson. Andre, der blev vævet ind i hendes New Orleans erfaring var Wynton Marsalis, Joel Grey, Ben Vereen, Robert Goulet og Nancy Wilson. It was also the entrance of Herb Ellis into her life, who would become a major influence and mentor. Det var også indgangen til Herb Ellis i hendes liv, som ville blive en stor indflydelse og mentor. Emily knew his work and found out he was in town. Emily vidste hans arbejde og fandt ud af han var i byen. Her foot in the door came when she contacted him for advice on repairing her Herb Ellis model guitar, so they met and ended up jamming for hours. Hendes fod i døren kom da hun kontaktede ham for at få råd om reparation af hendes Herb Ellis model guitar, så de mødtes og endte jamming i timevis.

As Herb remembers it, Som Herb husker det,

I was working in New Orleans in 1977, when this young girl, she couldn't have been 20, came and asked me for a lesson. Jeg arbejdede i New Orleans i 1977, da denne unge pige, hun kunne ikke have været 20, kom og spurgte mig for en lektion. I asked her to play something for me, and when she did, I just couldn't believe what I heard. Jeg bad hende om at spille noget for mig, og da hun gjorde, jeg kunne bare ikke tro, hvad jeg hørte. Forget about “girl”, she's going to be one of the greatest jazz guitar players who ever lived. Glem alt om "pige", hun vil være en af de største jazz guitar spillere, der nogensinde har levet. She can do anything. Hun kan gøre noget.

E E mily was only 19 and he was genuinely impressed. Milij var kun 19 og han var virkelig imponeret. She was asked to perform at that years Concord Jazz Festival where she appeared with the “Great Guitars”: Herb Ellis, Charlie Byrd, Joe Pass, Tal Farlow, Barney Kessel and bassist, Ray Brown. Hun blev bedt om at udføre på dette år Concord Jazz Festival, hvor hun optrådte med "Den store guitar": Herb Ellis, Charlie Byrd, Joe Pass, Tal Farlow, Barney Kessel og bassist, Ray Brown. From there her career was off and running. Herfra hendes karriere var slukket og løb. She left New Orleans in '79 but credits her time there as the most crucial in her growth of jazz and the place where she 'got good'. Hun forlod New Orleans i »79 men kreditter hendes tid dér, så de mest afgørende i hendes vækst jazz og det sted, hvor hun fik gode".

I had really just screwed around at Berklee, I didn't concentrate that hard, I was a child, a total beginner. Jeg havde egentlig bare skruet rundt på Berklee, har jeg ikke koncentrere så svært, jeg var et barn, en total nybegynder. I came out not playing that great but with a lot of knowledge of chords and theory. Jeg kom ud ikke at spille den store, men med en masse viden om akkorder og teori. I would say that Berklee was good for me in theory and harmony and ear training but when I got to New Orleans I was forced to get better and better. Jeg vil sige, at Berklee var godt for mig i teori og harmoni og hørelære, men da jeg kom til New Orleans var jeg tvunget til at blive bedre og bedre. I played all these show gigs and jazz gigs, and I had 25 students. Jeg spillede alle disse vise gigs og jazz koncerter, og jeg havde 25 elever. I was forced to come up to a certain level of playing. Jeg var tvunget til at komme op til et vist niveau for at spille. It was great. Det var fantastisk. There's a modern jazz thing happening down in there. Der er en moderne jazz ting sker i landet. It's much hipper than New York because the people want to be a part of it. Det er meget Hipper end New York, fordi folk ønsker at være en del af det. In New York, it's very serious, in New Orleans everybody jumps up and down, there's an R&B kind of feeling. I New York, er det meget alvorligt, i New Orleans alle hopper op og ned, er der en R & B slags følelse. I sort of stole that rich culture and applied it to my own music. Jeg slags vandt, at de rige kultur og anvendt den til min egen musik. If I had stayed in Boston, I'd be playing Giant Steps like a madman- like everybody else. Hvis jeg havde boet i Boston, jeg ville være at spille Giant Steps som en gal-som alle andre.

But as you can imagine it was a natural progression to move back to New York and all it's jazz appeal. Men som du kan forestille dig det var en naturlig progression at flytte tilbage til New York og alle dets jazz appel. She began jamming with area musicians, forming loose trios around town and backing on many occasions with the likes of Astrud Gilberto (where her deep love and command of Brazilian Jazz steadily flourished), John Clayton (her first guest appearance on an album, It's All In The Family ), Nancy Wilson at Carnegie Hall, and Eddie Gomez. Hun begyndte jamming med området musikere, der udgør løs trioer rundt i byen og opbakning i mange tilfælde med folk som Astrud Gilberto (hvor hendes dybe kærlighed og beherskelse af brasilianske Jazz støt blomstrede), John Clayton (hendes første gæsteoptræden på et album, It's All I The Family), Nancy Wilson i Carnegie Hall, og Eddie Gomez. She states that she played every gig she could which led to a few performances in a punk rock band of all things, called the Sterotypes where she played a Les Paul with pink dust in her hair. Hun anfører, at hun spillede et gig hun kunne, som førte til et par forestillinger i en punk rock band af alle ting, kaldet Sterotypes hvor hun spillede en Les Paul med pink støv i håret. True story. Sande historie. She also kept giving lessons when possible and among her students was none other than Gregory Hines, who in turn invited her to Los Angeles to be a part of his production of Hun holdt også give lektioner, når det er muligt og blandt hendes elever var ingen anden end Gregory Hines, som igen inviteret hende til Los Angeles for at være en del af sin produktion af Sophisticated Ladies Sofistikeret Ladies that featured songs based on Duke Ellington's work , der spillede sange baseret på Duke Ellington's arbejde
including Satin Doll, Mood Indigo, Take The A Train and Caravan . herunder Satin Doll, Mood Indigo, Take A Train og Caravan.
All her dedication and hard work was beginning to shine. Alle hendes engagement og hårdt arbejde var begyndt at skinne.

Click image to read an interview with Emily about the show in 1982 from The Los Angeles Times. Klik på billedet for at læse et interview med Emily om showet i 1982 fra Los Angeles Times.

It was a golden time, it was a time unwinding. Det var en gylden tid, det var en tid slappe af.

And the world was hers… for a while. Og verden var hendes ... for et stykke tid.



1981 1981 was a very good year. var et meget godt år. She recorded her first album as leader: Firefly , married brilliant Jamaican jazz pianist Monty Alexander and was chosen “Woman of the Year” by jazz historian and music critic, Leonard Feather. Hun indspillet sit første album som leder: Firefly, strålende jamaicanske jazz pianist Monty Alexander og blev gift valgt "Woman of the Year" af jazz historiker og musikkritiker, Leonard Feather. Although Firefly wasn't considered groundbreaking by critics, it was a classic hard bop style album that she used to pay homage to some of her favorite composers and idols. Selv om Firefly ikke blev anset for banebrydende af kritikerne, var det en klassisk hård bop stil album, hun plejede at hylde nogle af hendes foretrukne komponister og idoler. For a twenty three year old woman jazz guitarist, it was a successful first outing. For en tyve tre år gamle kvinde jazz guitarist, var det en vellykket første udflugt. The following year brought her second album: Take Two , a challenging set of material filled with obscurities and rarely performed gems from Cannonball Adderley, Dexter Gordon and McCoy Tyner as well as a beautiful composition from Monty called Eleuthra , one of the highlights of the album. Det følgende år bragte sit andet album: Tag to, en udfordrende sæt materiale fyldt med uklarheder og sjældent udføres perler fra Cannonball Adderley, Dexter Gordon og McCoy Tyner samt en smuk sammensætning fra Monty kaldet Eleuthra, et af højdepunkterne på albummet . She contributed two originals herself, the emotional Waltz For My Grandfather and a fun swinging romp right out of the gate called Pocket Wes . Hun bidrager to originaler selv, den følelsesmæssige Waltz For min farfar og en sjov swingende boltre lige ud af porten hedder Pocket Wes. That year also earned her a stay in Los Angeles area playing music for a stage show and appearances at many festivals namely Concord's Jazz Celebration and The Berlin and Newport Festivals. Samme år også har givet hende et ophold i Los Angeles-området ved at spille musik for en sceneshowet og udseende på mange festivaler, nemlig Concord Jazz Celebration og The Berlin og Newport Festivals.


Transitions in 1983 marked her 3rd solo album and just as the title suggests, it signified the changing and maturity of her music and writing skills. Overgange i 1983 markerede sit 3. solo album, og ligesom titlen antyder, er det betød de skiftende og modenhed hendes musik-og skrivefærdigheder. Her own voice was beginning to emerge with great Latin overtones. Hendes egen stemme var begyndt at vise sig med stor Latin overtoner. Meanwhile she continued to build her reputation around the New York scene, gigging with jazz groups and touring. Imens hun fortsatte med at opbygge hendes omdømme rundt om i New York scenen, gigging med jazz grupper og touring. The high momentum career did have it's downside on relationships, as it created too much unrelenting conflict to deal with and due to many “haphazard meetings” caused by their opposing travel schedules and other more personal issues that began to strain the young marriage, Emily and Monty divorced in '84. Den høje momentum karriere havde det downside på relationer, da det skabte for meget vedholdende konflikt at håndtere og på grund af mange "tilfældige møder" forårsaget af deres modsatrettede rejse skemaer og andre mere personlige emner, der begyndte at stamme den unge ægteskab, Emily og Monty blev skilt i '84.


That didn't seem to slow her down any, Catwalk , an all original compositions effort was released the very same year. Mocha Spice came from this album and is maybe her most well known song but perhaps the most overlooked of her compositions is Pedals , a very Coltrane-esque song with haunting melodic phrases. Det syntes ikke at bremse hende ned ad en, Catwalk, en alle originale kompositioner indsats blev udgivet den selvsamme år. Mokka Spice kom fra dette album og er måske hendes mest kendte sang, men måske den mest oversete af hendes kompositioner er Pedaler, en meget Coltrane-esque sang med uforglemmelige melodiske fraser. Her writing had developed great range and complexity. Hendes skriftligt havde udviklet stort udvalg og kompleksitet. She also appeared on Ray Brown's Soular Energy for one song, then followed that with a great duo album in 1985 with longtime friend and guitarist – Larry Coryell called Together , considered by many to be a crowning achievement for a jazz guitar duo album. Hun optrådte også på Ray Brown's Soular Energy for en sang, derefter fulgte det med en stor duo album i 1985 med mangeårige ven og guitarist - Larry Coryell kaldet Sammen anses af mange for at være en kronen på værket for en jazz guitar duo album. It's memorable for How Insensitive and the best swing blues version of a misnamed Pat Martino tune, Cisco listed as Gerri's Blues on the album. Det er mindeværdige for Hvordan Ufølsomme og den bedste swing blues version af en misvisende Pat Martino melodi, Cisco opført som Gerri's Blues på albummet.


It was a non stop schedule of playing and touring for the now seasoned twenty seven year old veteran and rising star. Det var en non stop forfaldsplan for at spille og turnere for den nu erfarne twenty syvårige veteran og stigende stjerne. She was in high demand as a featured guest for albums with Rosemary Clooney and John Colianni as well as many live performances and festivals before her next solo album would appear and one of her most successful in '87, East to Wes . Hun var i høj kurs som en gæstesolist for albums med Rosemary Clooney og John Colianni samt mange live-optrædener og festivaler, før hendes næste solo album synes og en af hendes mest succesfulde i '87, øst til Wes. Such a great album from start to finish highlighted by her tribute to Herb Ellis called Blues For Herb , among other swinging bebop standards that she took to new heights like Clifford Brown's Daahoud . Sådan en stor album fra start til slut fremhæves af hendes hyldest til Herb Ellis kaldet Blues For Herb, blandt andet swingende bebop standarder, at hun tog til nye højder som Clifford Brown's Daahoud. Mingled in were European and Asia tours and recordings with Hank Crawford's Quintet while in France on a much overlooked jazz jam album called Bossa International and several touring venues with Larry. Blandet i var de europæiske og Asien ture og optagelser med Hank Crawford's Quintet mens i Frankrig på en meget overset jazz jam album hedder Bossa International og flere touring spillesteder med Larry. More circuits and guest appearances followed in '87 – '89 (Susannah McCorkle and David Benoit are the most notable names). Mere kredsløb og gæsteoptrædener følges i '87 - '89 (Susannah McCorkle og David Benoit er de mest bemærkelsesværdige navne). She had also briefly moved to Pittsburgh PA, where she was Artist in Residence with Duquesne University and flourished at the local clubs, trying still to overcome her on going personal issues with substance abuse by keeping old habits in NY at a distance and new, more positive challenges front and center but life was also becoming much more hectic and demanding. Hun havde også kort flyttet til Pittsburgh PA, hvor hun var Artist in Residence med Duquesne University og blomstrede på de lokale klubber, forsøger stadig at overvinde sin igangværende personlige problemer med stofmisbrug ved at holde gamle vaner i NY på afstand og nye, mere positive udfordringer foran og i midten, men livet var også ved at blive langt mere hektisk og krævende.
Time was flying, but time was grinding. Time fløj, men tiden var slibning.


Jan Leder, a jazz flutist in the NY area shares this remembrance: Jan Leder, en jazz fløjtenist i NY området deler denne erindring:

I met Emily at DeFemeo’s in Yonkers one night at a jam session. Jeg mødte Emily på DeFemeo's i Yonkers en nat på en jam session. She was an amazing player. Hun var en fantastisk spiller. She had just returned from a trip to Japan and had not slept, but here she was jamming away. Hun havde netop vendt hjem fra en rejse til Japan og havde ikke sovet, men her var hun jamming væk. We somehow got to talking, and talked for quite a while. Vi en eller anden måde kom til at tale, og talte for en hel del tid. Here was someone who I thought had everything I'd ever wanted, namely a “successful” jazz career and recognition, not to mention real facility on her instrument. Her var nogen, der tænkte jeg havde alt jeg nogensinde har ønsket, nemlig en "succesfuld" jazz karriere og anerkendelse, for ikke at nævne egentlige anlæg på hendes instrument. After a while chatting she told me she envied me for my more “normal” life, and that made me reconsider the way I was looking at things at the time. Efter et stykke tid snakker hun fortalte mig, at hun misundte mig for mine mere "normale" liv, og det gjorde mig genoverveje den måde, jeg søgte på tingene på det tidspunkt. She was clearly hurting, and yet she played so incredibly well. Hun var tydeligvis såre, og hun spillede så utrolig godt. I will always remember her for how beautifully she played that night, and also for setting me straight in terms of appreciating what I had and was not seeing. Jeg vil altid huske hende for, hvor smukt hun spillede den aften, og også for fastsættelse mig lige i form af at værdsætte, hvad jeg havde og ikke se.

I Jeg n '89, restless with her music and wanting to take it a different direction, Emily signs a recording contract with Justice Records and released her last and fittingly most self assured album, This Is Me . n '89, rastløs med sin musik og ønsker at tage det en anden retning, Emily underskriver pladekontrakt med Justice Records og udgav sit sidste og værdig mest selvsikker album, This Is Me.

In this clear break from her earlier and more traditional approaches Emily was branching out on the electronic side of jazz, incorporating the sounds of a Casio Synth guitar into her new mix of music that was still heavily influenced by her continued love and devotion of Brazilian melodies, evident in “Carenia” and “Simplicidaje”, as well as chord melody showcase songs like “You Know What I'm Sayin' and “Second Childhood”. I denne klart brud fra hendes tidligere og mere traditionelle tilgange Emily var filialer ud på den elektroniske side af jazz, som omfatter lyden af en Casio synth guitar ind i hendes nye mix af musik, der endnu var stærkt påvirket af hendes fortsatte kærlighed og hengivenhed af brasilianske melodier , ses i "Carenia" og "Simplicidaje", samt akkord melodi udstillingsvindue sange som "You Know What I'm Sayin" og "Second Childhood". With the exception of one title, it was another album full of her unique evolving sound and dreams. Med undtagelse af én titel, var det et andet album fuld af hendes unikke udvikling lyd og drømme. Pretty good for someone that considered their grasp of technical things to be below average. Pretty god for nogen, der fandt deres forståelse af tekniske ting, der skal under gennemsnittet.

Let me tell you first that in my aptitude test in high school I scored 98 and 99 in verbal usage and spelling, 35 in technical reading. Lad mig fortælle dig det første, at min egnethedsprøve i gymnasiet jeg scorede 98 og 99 i mundtlig brug og stavning, 35 i tekniske læsning. Mechanical reasoning – I'ma moron. Mekaniske argumentation - Jeg er idiot. I plug the guitar into the amp and it's a big deal. Jeg stik guitaren i forstærkeren, og det er en big deal. When I get one of those pedals – chorus, flanger, digital delay – I fool with it all night long. Når jeg får en af disse pedaler - chorus, flanger, digital forsinkelse - jeg fjols med det hele natten lang. For me, maybe one day I will learn how to use that. For mig, jeg måske en dag vil lære at bruge det. I respect and envy Pat (Metheny) because he took the time to learn that stuff and how can you compete with the beautiful sounds that you can get out of those machines? Jeg respekterer og misundelse Pat (Metheny), fordi han tog sig tid til at lære, at ting og hvordan kan du konkurrere med de smukke lyde, du kan få ud af disse maskiner? I mean, sounds like the sun coming up, for God's sake. Jeg mener, det lyder som solen kommer op, for Guds skyld.

A delightful self observation from an interview in 1985 following the release of her fourth album, Catwalk. En dejlig selvstændig observation fra et interview i 1985 efter udgivelsen af hendes fjerde album, Catwalk. But really her electronic interests and mastery would reveal themselves in later recordings. Men virkelig hendes elektroniske interesser og beherskelse ville afsløre sig selv i senere optagelser.

Robert Jospe recalls how Emily envisioned her future. Robert Jospe minder om, hvordan Emily forestillede hende fremtid.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Lydklip: Adobe Flash Player (version 9 eller derover) er forpligtet til at spille dette lydklip. Download the latest version Download den nyeste version here her . . You also need to have JavaScript enabled in your browser. Du skal også have JavaScript aktiveret i din browser.

All along she kept winning respect for her ever growing musicianship and dedication to jazz. Alle sammen hun holdt vinde respekt for hendes voksende musikalitet og engagement til jazz.

“Just Incredible.” ~ Jim Hall "Just Incredible." ~ Jim Hall
“I'm taken by the great authority with which she plays” ~ Charlie Byrd "Jeg er truffet af den store myndighed, som hun spiller" ~ Charlie Byrd
“The new superstar of the guitar” ~ Herb Ellis "Den nye superstar af guitar" ~ Herb Ellis

She was no longer the novelty woman jazz guitarist but simply a great guitar player in her own right. Hun var ikke længere den nyhed kvinde jazz guitarist, men blot en stor guitarist i hendes egen ret. She was becoming comfortable with her own voice and vision in music and stronger in her attitude about style and substance. Hun var ved at blive fortrolig med sin egen stemme og vision i musik og stærkere i hendes holdning om stil og substans. She was making lesson videos, taping live performances on The Jazz Master's series of television shows, while still finding time for teaching and her own personal studies. Hun gjorde lektion videoer, taping liveoptræden på The Jazz Master's serie af tv-shows, og stadig finde tid til undervisning og hendes egne personlige undersøgelser.

“I was unprepared for the sheer strength of her playing. "Jeg var uforberedt på det store styrke hende spille. She was an extraordinarily daring player, edging close to the avant-garde, and she swung ferociously. Hun var en overordentlig dristigt spiller, kantning tæt på avant-garde, og hun svang vildt. There was also a deeply lyrical quality to her playing. Der var også en dybt lyrisk kvalitet til hende spille. She was a guitarist of unusual authority and individuality , a talented player who was one of the brightest happenings in the jazz guitar world of her decade. Hun var en guitarist af usædvanlige myndighed og individualitet, en talentfuld spiller, der var en af de klogeste happenings i jazz guitar verden af hendes årti. Harmonically, melodically and rhythmically, she had it all. Harmonisk, melodisk og rytmisk, hun havde det hele. ” "
Gene Lees Gene Lees

It seemed to be another good year. Det syntes at være et godt år.

T T he end as we all know was too sudden, too soon and without our permission. han ende som vi alle ved, var for pludselig for hurtigt og uden vores tilladelse. What could have been, what notes we'll never hear is known only to the moon and stars. Hvad kunne have været, hvilke toner vi vil aldrig høre kendes kun til månen og stjernerne. The truth and beauty left behind in the aftermath can be found in her music and her philosophies and that's enough for us to reflect over, draw from and share for a long time to come. Den sandhed og skønhed efterladt i kølvandet kan findes i hendes musik og hendes filosofier og det er nok for os til at reflektere over, trække fra og dele i lang tid fremover.

We are lucky to have had the time and pleasure of her company at all. Vi er så heldige at have haft tid og glæde af hendes selskab overhovedet.

~ Emily Remler died suddenly on tour, in Sydney, Australia on May 4th, 1990, ~ Emily Remler døde pludselig på turné i Sydney, Australien den 4 maj 1990,
officially listed as heart failure. officielt var registreret som hjertesvigt. She was 32 years young. Hun var 32 år yngre. ~ ~
View New York Times Obituary Se New York Times Obituary

That said, the audio below is an excellent and revealing interview conducted by David Brent Johnson host of Night Lights Jazz program with one of Emily's fellow musicians and friend Robert Jospe, who gives us one point of view dealing with this delicate matter from someone closer to the situation as it was happening then. Når det er sagt, audio nedenfor er en fremragende og afslørende interview gennemført af David Brent Johnson væld af Night Lights Jazz program med en af Emily's andre musikere og ven Robert Jospe, der giver os et synspunkt der beskæftiger sig med dette følsomme spørgsmål fra nogen tættere på situationen, som den der skete dengang.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Lydklip: Adobe Flash Player (version 9 eller derover) er forpligtet til at spille dette lydklip. Download the latest version Download den nyeste version here her . . You also need to have JavaScript enabled in your browser. Du skal også have JavaScript aktiveret i din browser.

Click anywhere on this sentence and listen to the entire NPR program Klik et vilkårligt sted på denne sætning og lytte til hele NPR program
Night Lights presenting “Emily Remler: a Musical Remembrance” Night Lights præsentere "Emily Remler: en musical erindring"
in it's uncut one hour format from Indiana public radio affiliate, WFIU. i det rod en time format fra Indiana offentlige radio affiliate, WFIU.
It requires real audio player for it's streaming format. Det kræver virkelig lydafspiller for det streaming format.

David also posted an insightful blog giving his opinion of how the memory of Emily was handled, as well as his considerable collective thoughts regarding this issue that so many jazz musicians have battled. David ligeledes sendt en indsigtsfuld blog, der giver sin mening om, hvordan erindringen om Emily blev behandlet, samt hans store kollektive tanker om dette spørgsmål, at så mange jazzmusikere har kæmpet. David is a devoted researcher and is well versed in Jazz music, especially the legendary players, a powerful passion for him that induced suddenly while listening to a recording of Count Basie in his college years. David er en hengiven forsker og er velbevandret i jazz musik, især den legendariske spillere, en magtfuld passion for ham, at induceret pludselig, mens du lytter til en optagelse af Count Basie i hans college år. We are both from the same school of thought on the matter and I couldn't have summarized this “issue” any better. Vi er begge fra den samme skole tænkte om sagen, og jeg kunne ikke har sammenfattet dette "problem" bedre. Worth your time to check out. Værd at bruge tid at tjekke ud.

Click this title to read: ” Emily Remler, Artist Sites and That Issue.” Klik på denne titel for at læse: "Emily Remler, Artist Websteder og dette spørgsmål."

No matter what your thoughts are concerning Emily's substance abuse there's no denying her incredible spirit, talent and dedication to music, to her fans and to her students. Ligegyldigt hvad dine tanker er om Emily's stofmisbrug kan man ikke nægte hende utrolig ånd, talent og engagement til musik, at hendes fans og hendes studerende. Her influences and indelible impact on the world of Jazz and the people affected so deeply from her contributions even to this day are the most important things to keep center stage as we go forward. Hendes indflydelse og uudslettelig indvirkning på verden af jazz og de berørte mennesker så dybt fra hendes bidrag selv til denne dag er de mest vigtige ting at holde centrum som vi går fremad.

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Timeline Tidslinje

1957 Born, Sept. 18th. 1957 Født, Sept 18. Manhattan, NY. Manhattan, NY. Raised in Englewood Cliffs, NJ. Rejst i Englewood Cliffs, NJ.

1970-1974 Dwight Morrow HS/ Windsor Mt. 1970-1974 Dwight Morrow HS / Windsor Mt. School in MA. School i MA. Graduates at age 16. Kandidater på 16 år.

1974-1976 Berklee School of Music. 1974-1976 Berklee School of Music. Studies with Larry Baione. Undersøgelser med Larry Baione. Graduates at age 18. Kandidater på 18 år.

1976-1979 Lived and worked in New Orleans. 1976-1979 boede og arbejdede i New Orleans. Performed with FourPlay, Little Queenie and the Percolators. Udført med FourPlay, Little Queenie og Percolators. Studies with Hank Mackie. Undersøgelser med Hank Mackie.

1978 Chance meeting with Herb Ellis, invited to play Concord Jazz Festival for 1st time. 1978 tilfældigt møde med Herb Ellis, inviteret til at spille Concord Jazz Festival for 1. gang.

1979 Moved back to NY. 1979 Flyttede tilbage til NY. First recorded guest appearance, Clayton's All In The Family . Første registreres gæsteoptræden, Clayton's All In The Family.

1980 Plays Concord Jazz Festival, Kool-Newport Festival, Berlin Festival. 1980 Afspilninger Concord Jazz Festival, Kool-Newport Festival, Berlin Festival.

1981 Records 1st album as leader. 1981 Records 1:e album som leder. Performs with Los Angeles production of Broadway hit, Sophisticated Ladies . Udfører med Los Angeles produktion af Broadway hit, sofistikeret Ladies. Marries Jazz pianist Monty Alexander. Gifter Jazz pianist Monty Alexander. Receives “Woman of The Year” award. Får "Woman of the Year"-pris.

1982 Records second album as leader, Take Two. 1982 Records andet album som leder, Take Two.

1983 Produces 3rd album, Transitions, includes 3 original compositions. 1983 Giver 3:e album, overgange, inkluderer 3 originale kompositioner. Tours Canada & Netherlands. Ture Canada & Holland.

1984 4th album Catwalk is released. 1984 4:e album Catwalk er frigivet. Guest appearance on Ray Brown's, Soular Energy . Gæsteoptræden på Ray Brown's, Soular Energi. Marriage to Alexander ends. Ægteskab med Alexander ender.

1985 Duo album Together , with Larry Coryell, released. 1985 Duo album Sammen med Larry, udgivet Coryell. Named ' G uitarist O f T he Y ear' by DownBeat Jazz Magazine's international poll. Opkaldt »G uitarist O f T han Y øret« ved downbeat Jazz Magazine's internationale meningsmåling.

1986 Collaboration on Clooney's Van Heusen cd, and Colianni's self titled album. 1986 Samarbejde om Clooneys Van Heusen cd, og Colianni sig selv titlen album. Produces lesson videos, Bebop & Swing Guitar and Advanced Latin & Jazz Improvisation. Giver lektion videoer, Bebop & Swing Guitar og Advanced Latin & Jazz Improvisation.

1987 Records live album: Bossa International with Hank Crawford Quintet in France. 1987 Records live album: Bossa International med Hank Crawford Quintet i Frankrig. Tours Europe and Asia. Ture Europa og Asien.

1988 Records East To Wes, featured on No More Blues with McCorkle. 1988 Records øst til Wes, figurerede på No More Blues med McCorkle. Plays Las Vegas. Afspiller Las Vegas. Studies composition in NY with Aydin Esen. Undersøgelser sammensætning NY med Aydin Esen. Lived in Pittsburgh, Artist in Residence at Duquesne University, studies Composition with Bob Brookmire. Boede i Pittsburgh, Artist in Residence på Duquesne University, undersøgelser Komposition med Bob Brookmire.

1989 Last US recordings as she appears on Benoit's Waiting For Spring, and McCorkle's acclaimed, Sabia, and one song for a homeless benefits album called Christmas Guitars. 1989 Sidst amerikanske optagelser som hun optræder på Benoit's venter på foråret, og McCorkle roste, Sabia, og en sang til en hjemløs ydelser album kaldet Christmas guitarer. Tapes Jazz Master's solo performance show started by Les Paul. Tapes Jazz Master's solo præstationer viser startet af Les Paul. Tours Australia and New Zealand. Ture Australien og New Zealand.
Receives B erklee’s D istinguished A lumni award. Får B erklee's D istinguished A lumni pris.

1990 Lost to us on tour in Sydney, Australia, May 4th. 1990 Lost til os på turné i Sydney, Australien, Må 4th.

1990 Final solo album, This Is Me released posthumously. 1990 Final solo album, This Is Me udgivet posthumt.

Continue to the history of women jazz guitarists. Fortsæt med at historien om kvinder jazz guitarister.

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